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François Augustin Caunois, Commemorating the Vote of March 16, 1830.
COURTESY THE METROPOLITAN MUSEUM OF ART
Politics
Artist Kevin Beasley voted. So should you. [Instagram]
“Art dealers across the US are mobilising in support of Democrats ahead of US mid-term elections.” [The Art Newspaper]
“Is Warhol to blame for Trump? Pop pioneer’s work touches on many issues facing America today.” [The Art Newspaper]
Money
Residents of an apartment building near a 10th-floor terrace on Tate Modern’s Blavatsky Building are not so enamored of the view it offers—straight into their apartments. So they sued. [The New York Times]
Tobias Meyer is said to be the seller of an Andy Warhol Gun painting going up for auction at Phillips with an estimate of $7 million to $10 million. [Bloomberg]
Film
Amazing Grace, a storied Aretha Franklin concert film shot in 1972 but never released, is finally seeing the light of day. “Her fans need to see this film, which is so pure and so joyous,” Sabrina Owens, Ms. Franklin’s niece and the executor of the Franklin estate, said. “And the world needs to see it. Our country, it’s in such a state right now.” [The New York Times]
Narcissister Organ Player is a documentary directed by Narcissister herself that stares down two questions: “How does an artist whose work relies at least partly on self-erasure direct a self-baring autobiography? And how does a performer who deals in the inexplicable go about making a documentary whose purpose, ostensibly, is to explain things?” [The New York Times]
Art
The curator of “The Japanese Platform” at the Asia Now art fair in Paris wrote about emerging trends in art from Japan. [CNN]
“Genesis Belanger’s porcelain sculptures playfully send up the advertising campaigns she once helped create as a prop stylist.” [The New York Times]
The Paris Review excerpted Jonathan Lethem’s essay in the the Met Museum’s catalogue for “Everything Is Connected: Art and Conspiracy.” “Like Don DeLillo in his JFK-assassination-conspiracy novel, Libra, these artworks don’t resolve the conundrums they entertain but instead provide a kind of mirrored room or resonating chamber that allows us to visit such apprehensions in their natural state, and to locate ourselves in them, in various states of outrage, bewilderment, complicity, arousal, and despair.” [The Paris Review]
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